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In 1969, with characteristic iconoclasm, Baselitz began to paint images upside down. By inverting his figures, he disrupts our understanding and reflects upon the chaos and disintegration of the modern world. In Adieu
the play between the abstract structure of the checkerboard and the isolated figures tends to emphasise a sense of alienation. Although more complex narrative content is resisted, the figures turn from each other as the title indicates.